“intimate proximity with a rage that no expression can appease”
Display: Standard
Michael Fox “Now Playing! Gawdafful National Theatre Acts Out at The Lab” KQED. Jun 24, 2021
“Internalized white supremacy, buttressed with ‘an unwillingness to come emotionally clean,’ […] filtered through the devious tricksterism of elves […] The camera brings us so much closer to the performers that the performances acquire the casualness, accessibility and immediacy of confessionals”
Janet Sarbanes “The Gawdafful Plays of Asher Hartman” American Theatre, October 15 2020
“The frame—whatever it may be—simply cannot contain all the questions, life experience, and language Hartman and his actors jam into it. It fills to overflowing and explodes.”
Pablo José Ramírez “Asher Hartman, The Mommy Leaks the Floor (New Theater Hollywood, Los Angeles, May 16).” Artforum December 2025, VOL. 64, NO. 4
“Even in this disorienting space, where subjectivity imploded, it was not anxiety or confusion that prevailed but a strange sense of comfort.”
Hannah Tishkoff “The Mommy Leaks The Floor at New Theater Hollywood” Artillery Magazine July 14, 2025
“By refusing to flatten psychic struggle into a mere aesthetic gesture, Hartman brazenly attempts to stage the unstageable. […] Life, as Hartman stages it, is an endless loop of affective drama — hysterical, libidinous, ecstatic, and undetermined”
Jasmine Nyende in Riting (2 of 2)
“Bleached trauma with an outlined stain”
From Rossen Ventzislavov in X—tra (2 of 2)
“a paragon of dramatic inclusivity”
from Rossen Ventzislavov review in X—tra (1 of 3)
“the familiar is not a destination here; it is the point of departure toward an unregulated space of common interest”
From Catherine Wagley review of “see what love…”
“There are no tricks in this play, just traps.”
Neha Choksi review
“the experiential onslaught of an Asher Hartman play doesn’t diminish upon repeats. It grows into something more powerful, the way poetry learned by heart does”
